Top Engineers – Doug Sax

Lincoln Mayorga & Distinguished Colleagues / Volume III – An Audiophile Record with Honest-go-Goodness Real Music

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  • This Limited Edition Sheffield Lab Direct Disc recording has some of the best sound we have ever heard for Volume III, clearly the best sounding title in the series
  • A superb pressing with energy and presence that just jumps right out of your speakers – this is but one of the qualities that separates the truly Hot Stampers from the pack

What do Hot Stampers give you for this album? It’s very simple. Most copies of this album are slightly thin and slightly bright. They give the impression of being very clear and clean, but some of the louder brass passages start to get strained and blarey. This copy is rich and full. The sound is balanced from top to bottom. You can play it all the way through without fatigue.

Trumpets, trombones, tubas, tambourines, big bass drums — everything has the true tonality and the vibrancy of the real thing. The reason this record was such a big hit in its day is because the recording engineers were able to capture that sound better than anybody else around at the time.

That’s also the reason this is a Must Own record today — the sound holds up, and there are not many audiophile recordings you can say that about.

Just listen to the astoundingly powerful brass choir on Oh Lord, I’m On My Way. It just doesn’t get any better than that. If ever there was a Demo Disc, this is one. (more…)

Massenet / Le Cid Ballet Music – Now With New and Improved Smile Curve EQ

Klavier Is a Label Best Avoided by Audiophiles

They Make Records Perfectly Suited to the Stone Age Stereos of the Past

Sonic Grade: D

This hi-fi-ish Doug Sax/ Acoustic Sounds butchering of Fremaux’s performance from 1971 is insufferable.

Can this possibly be the sound that EMI engineer Stuart Eltham was after?

Back in the day audiophiles in droves bought this pressing from all the major mail order audiophile record dealers (you know who I’m talking about), apparently not noticing the overblown bass and spark-spark-sparkling top end.  Perhaps the same audiophiles who think that Mobile Fidelity makes good sounding records?

The Smile Curve

If you’ve spent any time on this site, you should know by now that many audiophile records sound worse than the typical CD. The typical CD does not have an equalization curve resembling a smile. The classic smile curve starts up high on the left, gets low in the middle, and rises again at the end, resulting in boosted bass, boosted top end, and a sucked out midrange — the Mobile Fidelity formula in a nutshell.

If your system needs boosted bass and highs, perhaps because your speakers are too small, well, I suppose you could try this Klavier pressing.

Better yet, fix your stereo so you won’t need phony audiophile records like this one to make it sound good. (more…)

Berlioz / A Berlioz Orchestra Spectacular – Another Dubby Klavier Mess of a Record

Klavier Is a Label Best Avoided by Audiophiles

Actual Audiophile Quality Pressings of Orchestral Music Available Now

Sonic Grade: F

The sound is smeary, thick and opaque because, among other things, the record was mastered by Doug Sax from a copy tape, and not all that well either.

It is yet another murky Audiophile Piece of Trash from the mastering lathe of the formerly brilliant Doug Sax. He used to cut the best sounding records in the world. Then he started working for Analogue Productions and never cut a good record again as far as I know.

On this record, in Doug’s defense it’s only fair to point out that he had only dub tapes to work with, which is neither here nor there as these pressings are not worth the dime’s worth of vinyl used to make them.

Maybe the hearing-challenged Chad Kassem wanted this sound — almost all his remastered titles have the same faults — and simply asked that Doug cut it to sound real good like analog spossed to sound in the mind of this kingpin, which meant smooth, fat, thick and smeary.

Yes, this is exactly what some folks think analog is supposed to sound like.

Just ask whoever mastered the Beatles records in 2014. Somebody boosted the bass and smoothed out the upper midrange, and I don’t think they did that by accident. They actually thought it was good idea.

Harry Moss obviously would not have agreed, but he’s not around anymore to do the job right.

Here is the cover for the real EMI. No idea if the sound is any good, but it has to be better than the awful Klavier, doesn’t it?

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Chet Baker / Chet – Acoustic Sounds Hires Doug Sax to Ruin a Classic Jazz Album

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More Jazz Recordings Featuring the Trumpet

The less said about the awful Doug Sax remastering for Analogue Productions in the mid-’90s the better. What a murky piece of crap that was. Audiophile reviewers may have been impressed, but even way back then we knew a bad sounding record when we played one, and that pressing was very bad indeed.

One further note: the Heavy Vinyl pressings being made today, twenty-five years later, have a similar suite of shortcomings, sounding every bit as bad if not worse, and fooling the same audiophile reviewers and their followers to this very day. Nothing has changed, other than we have come along to offer the discriminating audiophile an alternative to the muddy messes these labels have been churning out. (more…)

The Pareto Effect in Audio – The 80/20 Rule Is Real

Hot Stampers of Ambrosia Available Now

Commentaries and Letters for Ambrosia’s Debut

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Ambrosia’s first album does exactly what a Test Disc should do. It shows you what’s wrong, and once you’ve fixed it, it shows you that it’s now right.

We audiophiles need records like this. They make us better listeners, and they force us to become better audio tweakers.

You cannot buy equipment that will give you the best sound. You can only tweak your equipment to get it.

At most 20% of the sound of your stereo is what you bought. At least 80% is what you’ve done with it. (Based on my experience I would put the number closer to 90%.)

This is known as the Pareto Principle

The Pareto Principle, also known as the 80/20 Rule, The Law of the Vital Few and The Principle of Factor Sparsity, illustrates that 80% of effects arise from 20% of the causes – or in lamens terms – 20% of your actions/activities will account for 80% of your results/outcomes.

The Pareto Principle gets its name from the Italian-born economist Vilfredo Pareto (1848-1923), who observed that a relative few people held the majority of the wealth (20%) – back in 1895. Pareto developed logarithmic mathematical models to describe this non-uniform distribution of wealth and the mathematician M.O. Lorenz developed graphs to illustrate it.

Dr. Joseph Juran was the first to point out that what Pareto and others had observed was a “universal” principle—one that applied in an astounding variety of situations, not just economic activity, and appeared to hold without exception in problems of quality.

In the early 1950s, Juran noted the “universal” phenomenon that he has called the Pareto Principle: that in any group of factors contributing to a common effect, a relative few account for the bulk of the effect. Juran has also coined the terms “vital few” and “useful many” or “trivial many” to refer to those few contributions, which account for the bulk of the effect and to those many others which account for a smaller proportion of the effect. — Juran

This Is One of The Records That Did It For Me

Perhaps hearing Dark Side was what made you realize how good a record could sound. Looking back on it over the last thirty years, it’s clear to me now that this Ambrosia album, along with a score of others, is one of the surest reasons I became an audiophile in the first place, and stuck with it for so long. What could be better than hearing music you love sound so good?

It’s clearly an album we are obsessed with. We have written extensively about 50 of them to date. It is our contention that to be any good at this hobby, you have to become obsessed with well-recorded albums and work out the consequences of those obsessions for yourself. We wrote about it here. An excerpt:

As a budding audiophile I went out of my way to acquire any piece of equipment that could make these records from the ’70s (the decade of my formative music-buying years) sound better than the gear I was then using. It’s the challenging recordings by Crosby, Stills, Nash and Young, as well as scores of other pop and rock artists like them, that drove my pursuit of higher quality audio, starting all the way back in high school.

And here I am — here we are — still at it, forty years later, because the music still sounds fresh and original, and the pressings that we find get better and better with each passing year.

That kind of progress is proof that we’re doing it right. It’s a good test for any audiophile. If you are actively and seriously pursuing this hobby, perhaps as many as nine out of ten non-audiophile pressings in your collection should sound better with each passing year.

As your stereo improves, not to mention your critical listening skills, the shortcomings of some of them will no doubt become more apparent. For the most part, however, with continual refinements and improvements to your system and room, vintage pressings will continue to sound better the longer you stay active in the hobby.

That’s what makes it fun to play old records: They just keep getting better!

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Benny Carter / Jazz Giant – Analogue Productions Fails Spectacularly Right Out of the Gate

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Sonic Grade: F

You may remember what a disaster the Acoustic Sounds‘ version from back in the ’90s was. (Or maybe you agree with Michael Fremer that they were god’s gift to the audiophile record lovers of the world. We thought they were crap right from the get go and were not the least bit shy about saying so,)

I haven’t heard the new 45 RPM version and don’t intend to, but I seriously doubt that it sounds like our good Hot Stamper pressings. We have yet to hear a single Heavy Vinyl 45 that sounds any good to us, judged by the standards we set in our shootouts.

Actually, to run the risk of sounding overly pedantic, the records themselves set the standards. We simply grade them on the curve they establish.

We guarantee that none of their LPs can hold a candle to our records or your money back. If you have one of the new pressings and don’t know what’s wrong with it, or don’t think that anything is wrong with it, try ours. It will show you just how much better a real record can sound, with more space, more transparency, more energy, more presence, more drive, more ambience –more of everything that’s good about the sound of music on vinyl.

It is our contention that no one alive today makes records that sound as good as the ones we sell. Once you hear our Hot Stamper pressing, those Heavy Vinyl records you bought might not ever sound right to you again.

They sure don’t sound right to us, but we have the good fortune of being able to play the best older pressings (reissues included) side by side with the new ones, where the faults of the current reissues become much more audible — in fact, exceedingly obvious. When you can hear them that way, head to head, there really is no comparison. 


More Heavy Vinyl Reviews

Here are some of our reviews and commentaries concerning the many Heavy Vinyl pressings we’ve played over the years, well over 200 at this stage of the game. Feel free to pick your poison. (more…)

The Sheffield Track Record – Who in His Right Mind Thinks This Is a Super Disc?

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Sonic Grade: F

A Hall of Shame Pressing.

This is a Sheffield Lab LP of Rock Instrumental Tracks For Audio Component Testing and Evaluation. Harry Pearson calls this absolutely the best sounding rock record ever made.

We cannot agree with HP as to the recording quality of this album. The sound is surprisingly compressed, and the music is every bit as lifeless as the sound.

If you don’t know anything about rock music, this is the kind of rock music you like.

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Pink Floyd – The Dark Side of the Moon – 2003 Heavy Vinyl Reviewed

Pink Floyd Hot Stamper Pressings Available Now

Reviews and Commentaries for Dark Side of the Moon

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Sonic Grade: F

A Hall of Shame pressing and a Heavy Vinyl Disaster if there ever was one (and oh yes, there are plenty).

The 30th Anniversary Heavy Vinyl pressing is TOO BRIGHT. There is a boost in the top end, probably right around the 12K region, which is a very poor mastering choice the late Doug Sax apparently made, a choice that is surely not doing this recording any favors. In the case of this new pressing in fact, it’s positively ruinous. (more…)

Thelma Houston – I’ve Got The Music In Me

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  • This Sheffield direct-to-disc pressing boasts outstanding Double Plus (A++) sound or BETTER from start to finish – fairly quiet vinyl too
  • Loads of presence, with richness and fullness that showed us just how good the Direct to Disc medium at its best can be. It had everything going for it from top to bottom, with big bass, dynamics, clarity, top end extension (so silky up there!) and ENERGY
  • Make no mistake, this here is a real Demo Disc. The sound is Wall to Wall!
  • Unlike most Direct to Disc recordings this album actually contains real music worth listening to

In our recent Shootout this wonderful pressing sounded far better than most other copies we played. It fulfills the promise of the direct to disc recording approach in a way that few direct to disc pressings do. To be honest, most copies of this title were quite good. Few didn’t do most things at least well enough to earn a Hot Stamper grade. This has not been the case with many of the Sheffield pressings we’ve done shootouts for in the past. Often the weaker copies have little going for them. They don’t even sound like Direct Discs!

Some copies lack energy, some lack presence, most suffer from some amount of smear on the transients. But wait a minute. This is a direct disc. How can it be compressed, or lack transients? Aren’t those tape recorder problems that are supposed to be eliminated by the direct to disc process?

“Supposed to be eliminated” is a long way from “were eliminated.” Even though the mastering is fixed at the live event, there are many other variables which affect the sound. The album is pressed in three different countries: the United States, Japan and Germany. Many mothers were pulled from the plated acetates (the “fathers”) and many, many stampers made from those mothers.

Bottom line? You got to play ’em, just like any other record. If no two records sound the same, it follows that no two audiophile records sound the same, a fact that became abundantly clear very early on in the listening. Of course not many audiophiles are in a position to shootout eight or ten copies of I’ve Got The Music In Me, and I’m not sure most audiophiles would even want to. Here at Better Records we have a whole system set up to do exactly that, so we waited until we had a pile of them gathered together, cleaned them all up, and off to the races we went. (more…)

Lincoln Mayorga and Distinguished Colleagues – Volume 1 – (S9)

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Reviews and Commentaries for Lincoln Mayorga and Distinguished Colleagues

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  • A stunning Shootout Winning pressing of this famous audiophile recording, with Triple Plus (A+++) sound or close to it on both sides
  • This copy will be awfully hard to beat for sound – get your VTA right and the bottom end on this LP will turn into a Bass Demo Disc like nothing you’ve heard
  • It’s very difficult to find this album in clean condition, and even more difficult to find one that sounds as good as this one does
  • One of the rarest Hot Stamper records bar none — only a handful have ever made it to the site

This is a stunning copy of The Big One — Lincoln Mayorga and Distinguished Colleagues’ first Sheffield Direct-to-Disc LP aka S9. We’ve been comparing and contrasting pressings of this album for more than twenty years and this is one of the better copies we’ve stumbled upon. The sound is BIG, RICH and FULL OF ENERGY.

Both sides have prodigious amounts of bottom end. It is a thrill to hear the power of the bass on this recording. The kick drum is HUGE.

Both sides have about as much Tubey Magic as can be found on the album, although Tubey Magic is clearly not what the engineers were going for with this recording. It’s a sound that many copies reproduce less than ideally, being somewhat dry. (more…)